George Eliot disliked vehemence more and more as her work advanced. The word “crudity,” so frequently on her lips, stood for all that was objectionable and distasteful. The conservatism of an artistic moral nature was shocked by the seeming peril to which priceless moral elements of human character were exposed by the energumens of progress. Their impatient hopes for the present appeared to her rather unscientific; their disregard of the past, very irreverent and impious. Mill had the same feeling when he disgusted his father by standing up for Wordsworth, on the ground that Wordsworth was helping to keep alive in human nature elements which utilitarians and innovators would need when their present and particular work was done. Mill, being free from the exaltations that make the artist, kept a truer balance. His famous pair of essays on Bentham and Coleridge were published (for the first time, so far as our generation was concerned) in the same year as _Adam Bede_, and I can vividly remember how the “Coleridge” first awoke in many of us, who were then youths at Oxford, that sense of truth having many mansions, and that desire and power of sympathy with the past, with the positive bases of the social fabric, and with the value of Permanence in States, which form the reputable side of all conservatisms. This sentiment and conviction never took richer or more mature form than in the best work of George Eliot, and her stories lighted up with a fervid glow the truths that minds of another type had just brought to the surface. It was this that made her a great moral force at that epoch, especially for all who were capable by intellectual training of standing at her point of view. We even, as I have said, tried hard to love her poetry, but the effort has ended less in love than in a very distant homage to the majestic in intention and the sonorous in execution. In fiction, too, as the years go by, we begin to crave more fancy, illusion, enchantment, than the quality of her genius allowed. But the loftiness of her character is abiding, and it passes nobly through the ordeal of an honest biography. “For the lessons,” says the fine critic already quoted, “most imperatively needed by the mass of men, the lessons of deliberate kindness, of careful truth, of unwavering endeavor,—for these plain themes one could not ask a more convincing teacher than she whom we are commemorating now. Everything in her aspect and presence was in keeping with the bent of her soul. The deeply-lined face, the too marked and massive features, were united with an air of delicate refinement, which in one way was the more impressive because it seemed to proceed so entirely from within. Nay, the inward beauty would sometimes quite transform the external harshness; there would be moments when the thin hands that entwined themselves in their eagerness, the earnest figure that bowed forward to speak and hear, the deep gaze moving from one face